Antonin Dvorak - New World Symphony (Full) - YouTube Antonin Dvorak - New World Symphony (Full) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 19, 2011 The Symphony No. 9 in E Minor "From the New World", Op. 95, B. 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895.

It is divided in four movements: Dvorak's Symphonic Journey to the 'New World' : NPR Dvorak's Symphonic Journey to the 'New World' Dvorak's Symphonic Journey to the 'New World' Hear Alsop discuss Dvorak on 'Weekend Edition Saturday' Embed Embed April 18, 200811:43 AM ET Marin Alsop Hear Dvorak's Symphony Marin Alsop conducts the Baltimore Symphony Orchestra in excerpts from Dvorak's Symphony No. 9: "From the New World." 1. 'Adagio -- Allegro molto' (excerpt) Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 2. 'Largo' (excerpt) Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 3.

'Molto vivace' (excerpt) Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 4. 'Allegro con fuoco' (excerpt) Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The complete symphony is available from the Baltimore Symphony Orchestra . The CD will be issued by Naxos records on June 1st, 2008. Czech composer Antonin Dvorak crossed the Atlantic in September 1892 to direct the National Conservatory of Music in New York. During his stay, he composed the "New World" Symphony. Getty Images hide caption toggle caption Hear examples from Dvorak's symphony noted by Alsop in her essay.

As the symphony opens, Dvorak's French horn blast signals the unknown Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> A "main theme" emerges in the first movement Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The haunting melody from the "Largo" was turned into the song "Goin' Home" Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> Newfound urgency in the finale Toggle more options Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The symphony's melodies are transformed at the end Toggle more options Embed Embed The Brooklyn Bridge, as Antonin Dvorak would have seen it when he lived and worked in New York in the 1890s.

Getty Images hide caption toggle caption Getty Images The Brooklyn Bridge, as Antonin Dvorak would have seen it when he lived and worked in New York in the 1890s. Getty Images Dvorak's Symphony No. 9, the New World Symphony, is played so often that it runs the risk of sounding hackneyed. That fact became painfully obvious to me during a recent visit to Japan, when I heard the symphony's beautiful English horn melody in a cheesy, electronic rendition, signaling "all clear to walk" at a bustling Sapporo intersection. As I returned to Dvorak's popular symphony recently, I was struck by how incredibly fresh the music really is. I was reminded of how Johannes Brahms was moved by Dvorak's melodic gifts, as well as his ability to spin a seemingly infinite number of variations on a tune. This, combined with Dvorak's Bohemian heritage, results in music unlike any other composer's. Symphony No. 9 is nicknamed New World because Dvorak wrote it during the time he spent in the U.S. in the 1890s.

His experiences in America (including his discovery of African-American and Native-American melodies) and his longing for home color his music with mixed emotions. There's both a yearning that simmers and an air of innocence. The music, for me, evokes images. As the symphony opens, I picture Dvorak at the stern of the ship that carries him to America, away from his country. As the land drifts out of sight, he is suddenly jarred by the thought of the unknown with a blast from the French horn . Article continues after sponsorship This slow introduction conveys many emotions — sadness, fear, suspense, even a ray of hope — in its brief 23 measures, until Dvorak eventually chooses which main melody will take over the main part of the movement. A nostalgic folk tune provides simplicity and variety, leading to the second theme, which is really a variation of what came before, illustrating Dvorak's inventiveness with melody. The New World Symphony's best-known melody surfaces in the "Largo" movement , with its aching English horn solo. It was later adapted into the song "Goin' Home" by Harry Burleigh, a black composer whom Dvorak befriended while in New York.

But I'm always moved by the church-like chords that come before that now-famous tune. In a stroke of innovative genius, Dvorak brings these opening chords back at the climax of the finale, where all the melodies from the symphony , reappear, transformed by the journey. In the scherzo movement that follows, Dvorak explores the dance rhythms and melodies of his heritage. They feel new and fresh, yet familiar at the same time. It contrasts with the finale, which begins with a newfound urgency , setting up the nobility and majesty of the main melody heard in the brass. The New World Symphony is for me, above all, a journey — Dvorak's journey to America, getting to know its people. But more importantly, it's Dvorak's own spiritual and emotional journey: from his intense longing for his beloved Bohemia to the thrill of the "new world" and its varied peoples, to thoughts of going home. When all the melodies return at the end of the symphony, I feel as though Dvorak's American adventure has come full circle. The end reminds me of an old film where the last scene is frozen and the circle of the lens closes in until a black screen is all that remains.

Antonin Dvořák: Composer's life & music | Classic FM Antonin Dvořák Biography Antonín Dvořák (1841–1904) was a Czech composer of Romantic music, who employed the idioms of the folk music of Moravia and his native Bohemia. Dvořák's most well known work is his Symphony No.9, 'From the New World'. Life and Music Antonin Dvorak was born the eldest of eight children in a small village north of Prague. Folk music accompanied every occasion, and Dvorak soon joined his father in the local band. He studied organ, violin, piano and, less successfully, German. In 1871, still with none of his music publicly performed or published, he left the orchestra to concentrate on composing, scratching a living by giving piano lessons. Antonin and Anna were wed on 17 November 1873 and enjoyed a long and fruitful marriage. In 1877, on recommendation by Brahms, the publisher Simrock commissioned Dvorak to write some Slavonic Dances for piano duet, aimed at the lucrative domestic market.

Dvorak fast became an international celebrity, in some places almost overnight. In Berlin the sheet music sold out in one day. In 1891 Dvorak got an offer from Mrs Jeannette Thurber, the wife of a millionaire businessman, who wanted him as Director of the New Conservatory of Music in New York. For a little teaching and conducting, with four month's vacation, he would receive the unimaginable salary of $15, 000 - 25 times what he was paid in Prague, and worth about £500,000 in today's terms. The Dvoraks sailed to New York in autumn 1892, and their time in America produced three of his most famous works, the String Quartet No.12, 'American', the Cello Concerto in B minor; and the 'New World' Symphony. The last years of his life, Dvorak was content. He composed some short orchestral works and wrote his operatic masterpiece, Rusalka. When he died of a heart attack after a short illness, he was mourned as a national hero, and his music has remained popular ever since. Did you know?

Dvorak was absolutely mad about trains and everything to do with them. When he was a teacher, he would always ask his pupils to describe in detail any train journeys that they had recently made! Dvořák: 15 facts about the great composer Czech composer Antonin Dvořák, famous for his Symphony No.9 'From the New World', was passionate about his homeland and its traditional music. Symphony no. 9 in E minor, 'From the New World' Op. 95 | Free Music Music Education Symphony no. 9 in E minor, 'From the New World' Op. 95 Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular ...

more Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version.

However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony. less This piece contains the following parts: Antonín Dvořák - Symphony No. 9, "From the New World" - Paavo Järvi/Royal Philharmonic Orchestra - YouTube Antonín Dvořák - Symphony No. 9, "From the New World" - Paavo Järvi/Royal Philharmonic Orchestra Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 11, 2012 Antonín Dvořák spent the years between 1892 - 1895 working in America as the Director of the National Conservatory of Music in New York. It was during this time that he wrote Symphony No. 9, "From the new World".

This symphony was the one that brought him the most resounding success in 1893 when it was first performed. He was sending "notes" back to his friends and famiy in Czechoslovakia from the New World, America. The Symphony No. 9 in E Minor "From the New World", Op. 95, B. 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895. It is by far his most popular symphony, and one of the most popular in the modern repertoire. In older literature and recordings this symphony is often indicated as Symphony No. 5 Dvořák was interested in the Native American music and African-American spirituals he heard in America. Upon his arrival in America, he stated: "I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil.

They are the folk songs of America and your composers must turn to them." The symphony was commissioned by the New York Philharmonic, and premiered on December 16, 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony: "I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour." In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's [The Song of] Hiawatha" (Dvořák never actually wrote such a piece). He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance".

Curiously enough, passages which modern ears perceive as the musical idiom of African-American spirituals may have been intended by Dvořák to evoke a Native American atmosphere. In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland". Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz asserts that African-american spirituals were a major influence on the ninth symphony, quoting Dvořák from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Despite all this, it is generally considered that, like other Dvořák pieces, the work has more in common with folk music of his native Bohemia than with that of the United States. Leonard Bernstein averred that the work was truly multinational in its foundations.

The anthem of the Bureau of International Expositions was extracted from the starting part of the fourth movement of the symphony. Antonin Dvorak: Biography - Classic Cat Early career Antonín Dvořák in 1868 Dvořák was born on September 8, 1841, in the Bohemian village of Nelahozeves , near Prague (then part of Bohemia in the Austrian Empire , now in the Czech Republic ), where he spent most of his life. He was baptized as a Roman Catholic in the church of St. Andrew in the village. Dvořák's years in Nelahozeves nurtured the strong Christian faith and love for his Bohemian heritage which so strongly influenced his music. [1] His father František Dvořák (1814–1894) was an innkeeper, professional player of the zither , and a butcher. Although his father wanted him to be a butcher as well, Dvořák went on to pursue a future in music. He received his earliest musical education at the village school which he entered in 1847, age 6.

From 1857 to 1859 [2] he studied music in Prague's only organ school, and gradually developed into an accomplished player of the violin and the viola. He wrote his first String Quartet when he was twenty years old, two years after graduating. Throughout the 1860s he played viola in the Bohemian Provisional Theater Orchestra, which from 1866 was conducted by Bedřich Smetana . By the time he was eighteen years old, Dvořák was a full-time musician. He was making about $7.50 a month. The constant need to supplement his income pushed him to teach piano lessons. It was through these piano lessons that he met his wife. He originally fell in love with his pupil Josefína Čermáková, for whom he composed Cypress Trees. However, she never returned his love and ended up marrying another man. In 1873 Dvořák married Josefina's younger sister, Anna. They had nine children together, three of whom died during infancy. It was after his marriage that he left the National Theatre Orchestra, in which he had been playing for eleven years.

He secured the job of organist at St. Adalbert’s Church in Prague, which provided him with decent financial security, a higher state in social status, and enough free time to focus on composing. Dvořák composed his second string quintet in 1875, the same year that his first son was born. It was during this year that he produced a multitude of works, including his 5th Symphony, String Quintet No. 2, Piano Trio No. 1 and Serenade for Strings in E. In 1877, the critic Eduard Hanslick informed him that his music had attracted the attention of the famous Johannes Brahms , whom Dvořák admired greatly. Brahms had a huge influence over Dvořák’s work, especially as the two later became friends. Brahms contacted the musical publisher Simrock, one of the major European publishers. Published in 1878, the above mentioned works were an immediate success.

Dvořák's Stabat Mater (1880) was performed abroad, and after a successful performance in London in 1883, Dvořák was invited to visit England where he appeared to great acclaim in 1884. His Symphony No. 7 was written for London; it premiered there in 1885. Dvořák visited England nine times in total [2] , often conducting his own works there. In 1890, influenced by Pyotr Ilyich Tchaikovsky , Dvořák also visited Russia, and conducted the orchestras in Moscow and in St. Petersburg . [2] In 1891 Dvořák received an honorary degree from the University of Cambridge , and was offered a position at the Prague Conservatory as professor of composition and instrumentation. At first he refused the offer, but then later accepted. He probably changed his mind and accepted this offer after quarrelling with his publisher, Simrock, over payment for his Eighth Symphony. His Requiem premiered later that year in Birmingham at the Triennial Music Festival .

United States (1892–1895) Dvořák's funeral on May 5, 1904 Dvořák's tomb in Prague Statue of Dvořák in Stuyvesant Square , Manhattan near the site of his house From 1892 to 1895, Dvořák was the director of the National Conservatory of Music in New York City, at a then-staggering $15,000 annual salary. The Conservatory had been founded by a wealthy and philanthropic socialite, Jeannette Thurber ; it was located at 126-128 East 17th Street , [3] [4] but was demolished in 1911 and replaced by what is now a high school. Dvořák’s main goal in America was to discover “American Music” and engage in it, much as he had utilized Czech folk idioms within his music. Shortly after his arrival in America in 1892, Dvořák wrote a series of newspaper articles reflecting on the state of American music.

He supported the concept that African-American and Native American music should be used as a foundation for the growth of American music. He felt that through the music of Native Americans and African-Americans, Americans would find their own nationalist music. [5] Here Dvořák met with Harry Burleigh , his pupil at the time and one of the earliest African-American composers. Burleigh introduced Dvořák to traditional American Spirituals at Dvořák's request. [6] In the winter and spring of 1893, while in New York, Dvořák wrote Symphony No.9, "From the New World" . On December 15, 1893, Henry Edward Krehbiel wrote a complete analysis in the New York Daily Tribune regarding Dvořák's symphony. He spent the summer of 1893 with his family in the Czech -speaking community of Spillville, Iowa , to which some of his cousins had earlier immigrated. While there he composed the String Quartet in F (the "American"), and the String Quintet in E flat , as well as a Sonatina for violin and piano .

He also conducted a performance of his Eighth Symphony at the Columbian Exposition in Chicago that same year. Over the course of three months in 1895, Dvořák wrote his Cello Concerto in B minor . However, problems with Mrs. Thurber about his salary, together with increasing recognition in Europe — he had been made an honorary member of the Gesellschaft der Musikfreunde in Vienna — and a remarkable amount of homesickness made him decide to return to Bohemia. He informed Mrs. Thurber, who still owed him his salary, that he was leaving. Dvořák and his wife left New York before the end of the spring term with no intention of returning. Dvořák's New York home was located at 327 East 17th Street near Perlman Place. [7] It was in this home that the Ninth Symphony was written. Despite protests, from then Czech President Václav Havel amongst others, who wanted the house preserved as a historical site, it was demolished to make room for a Beth Israel Medical Center residence for people with AIDS . [8] To honor Dvořák, however, a statue of him was erected in Stuyvesant Square .

[4] [9] Later career After returning home from America, Dvořák at first spent most of his time resting and spending time with his family in the country. During his final years, Dvořák concentrated on composing opera and chamber music. In 1896 he visited London for the last time to hear the premiere of his Cello Concerto in B minor . In 1897 his daughter married a pupil of his – the composer Josef Suk . Dvořák was appointed a member of the jury for the Viennese Artist’s Stipendium, and later was honored with a medal. Dvořák succeeded Antonín Bennewitz as director of the Conservatory in Prague in November 1901 until his death from heart failure in 1904. [10] . His 60th birthday was celebrated as a national event, with organized concerts and even a banquet in his honor. He died from heart failure on May 1, 1904, following five weeks of illness. His funeral was on May 5. He is interred in the Vyšehrad cemetery in Prague, under his bust by Czech sculptor Ladislav Šaloun .

He left many unfinished works, including the early Cello Concerto in A major (see Concerti below). Works See also: List of compositions by Antonín Dvořák Dvořák wrote in a variety of forms: his nine symphonies generally stick to classical models that Beethoven would have recognised, but he also worked in the newly developed symphonic poem form and the influence of Richard Wagner is apparent in some works. Many of his works also show the influence of Czech folk music, both in terms of elements such as rhythms and melodic shapes; perhaps the best known examples are the two sets of Slavonic Dances . His interest in nationalist ideas carried over to his work in the United States. Dvořák also wrote operas (of which the best known is Rusalka ); serenades for string orchestra and wind ensemble; chamber music (including a number of string quartets and quintets); songs; choral music; and piano music. Numbering While a large number of Dvořák's works were given opus numbers , these did not always bear a logical relationship to the order in which they were either written or published.

To achieve better sales, some publishers such as Simrock preferred to present budding composers as being well established, by giving some relatively early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák deliberately provided new works with lower opus numbers to be able to sell them outside contract obligations to other publishers. [11] This way it could happen that the same opus number was given to more than one of Dvořák's works. [12] In yet other cases, a work was given as many as three different opus numbers by different publishers. The numbering of his symphonies has also been confused: (a) they were initially numbered by order of publication, not composition; (b) the first four symphonies to be composed were published after the last five; and (c) the last five symphonies were not published in order of composition. This explains why, for example, the New World Symphony was originally published as No. 5, was later known as No. 8, and definitively renumbered as No. 9 in the critical editions published in the 1950s. The order of publication of the symphonies was: No.

6 (1881) – published as "No. 1", although Dvořák called it "No. 5" No. 7 (1885) – published as "No. 2", although Dvořák called it "No. 6" No. 5 (1888) – published as "No. 3, Op. 76", although Dvořák called it "No. 4, Op. 24" on the score No. 8 (1890) – published as "No. 4", although Dvořák called it "No. 7" No. 9 (1894) – published as "No. 5", although Dvořák called it "No. 8" No. 3 (1912) No. 9 (1893) No. 1 (1936) All of Dvořák's works were chronologically catalogued by Jarmil Burghauser in Antonín Dvořák. Thematic Catalogue. Bibliography. Survey of Life and Work (Export Artia, Prague, 1960).

As an example, in the Burghauser catalogue, the New World Symphony, Op. 95 is B.178. [13] Scholars today often refer to Dvořák's works by their B numbers (for Burghauser), although references to the traditional opus numbers are still common, in part because the opus numbers have historical continuity with earlier scores and printed programs. The opus numbers are still more likely to appear in printed programs for performances. Symphonies The first page of the autograph score of Dvořák's Ninth Symphony During Dvořák's life, only five of his symphonies were widely known. The first published was his sixth, dedicated to Hans Richter . After Dvořák's death, research uncovered four unpublished symphonies, of which the manuscript of the first had even been lost to the composer himself. This led to an unclear situation in which the New World Symphony has alternately been called the 5th, 8th and 9th. This article uses the modern numbering system, according to the order in which they were written. Symphony No. 1 in C minor was written when Dvořák was 24 years old.

Later subtitled The Bells of Zlonice after a village in Dvořák's native Bohemia, it shows inexperience but also genius with its many attractive qualities. It has many formal similarities with Beethoven 's 5th Symphony (for example, the movements follow the same keys: C minor, A flat major, C minor, C major), yet in harmony and instrumentation, Dvořák's First follows the style of Franz Schubert . (Some material from this symphony was reused in the Silhouettes, Opus 8, for piano solo.) Symphony No. 2 in B flat major , Op. 4, still takes Beethoven as a model, though this time in a brighter, more pastoral light. Symphony No. 3 in E flat major , Op. 10, clearly shows the sudden and profound impact of Dvořák's recent acquaintance with the music of Richard Wagner and Franz Liszt ; there is no scherzo . (A portion of the slow movement was reused in the sixth of the Legends, Opus 59, for piano duet or orchestra.) Symphony No. 4 in D minor , Op.

13, still shows a strong influence of Wagner, particularly the second movement, which is reminiscent of the overture to Tannhäuser . In contrast, the scherzo is strongly Czech in character. Symphony No. 5 in F major , Op. 76, and Symphony No. 6 in D major , Op. 60, are largely pastoral in nature, and brush away nearly all the last traces of Wagnerian style. The Sixth, published in 1880, shows a very strong resemblance to the Symphony No. 2 of Brahms, particularly in the outer movements, though this similarity is belied by the third-movement furiant , a vivid Czech dance. This was the symphony that made him internationally known as a symphonic composer. Symphony No. 7 in D minor of 1885, Op. 70, is sometimes reckoned to exhibit more formal tautness and greater intensity than the more famous 9th Symphony . There is emotional torment in the Seventh that may reflect personal troubles: around this time, Dvořák was struggling to have his Czech operas accepted in Vienna, feeling pressure to write operas in German, and arguing with his publisher.

His sketches show that the Seventh cost him much hard work and soul-searching. Symphony No. 8 in G major , Op. 88, is, in contrast with the Seventh, characterized by a warmer and more optimistic tone. Karl Schumann (in booklet notes for a recording of all the symphonies by Rafael Kubelík ) compares it to the works of Gustav Mahler . As with the Seventh, some feel the Eighth is the best of the symphonies. That some critics feel it necessary to promote a symphony as "better than the Ninth" shows how the immense popularity of the Ninth has overshadowed the earlier works. Symphony No. 9 in E minor , Op. 95, may be better known by its subtitle, From the New World, and is also called the New World Symphony. Dvořák wrote it between January and May 1893, while he was in New York. At the time of its first performance, he claimed that he used elements from American music such as spirituals and Native American music in this work, but he later denied this.

The first movement has a solo flute passage reminiscent of " Swing Low, Sweet Chariot ", and one of his students later reported that the second movement depicted, programmatically, the sobbing of Hiawatha . The second movement was so reminiscent of a negro spiritual that William Arms Fisher wrote lyrics for it and called it "Goin' Home". Dvořák was interested in indigenous American music, but in an article published in the New York Herald on December 15, 1893, he wrote, "[In the 9th symphony] I have simply written original themes embodying the peculiarities of the Indian music." Neil Armstrong took a recording of the New World Symphony to the Moon during the Apollo 11 mission, the first Moon landing, in 1969 [14] , and in 2009 it was voted the favourite symphony in a poll run by ABC Classic FM in Australia.

[15] Many conductors have recorded cycles of the symphonies, including Karel Ančerl , István Kertész , Rafael Kubelík , Otmar Suitner , Libor Pešek , Zdeněk Mácal , Václav Neumann , Witold Rowicki , Neeme Järvi and Stephen Gunzenhauser. Symphonic poems Dvořák's symphonic poems (tone poems) are among his most original symphonic works. [16] He wrote five symphonic poems, all in 1896–1897, and they have sequential opus numbers: The Water Goblin , Op. 107; The Noon Witch , Op. 108; The Golden Spinning Wheel , Op. 109; The Wood Dove , Op. 110; and The Hero's Song , Op. 111. The first four of these works are based upon ballads by the Czech folklorist Karel Erben . The Hero's Song is based on a program of Dvořák's devising and is believed to be autobiographical.

[17] Choral works The greatest of Dvořák's choral works are his Requiem, Op. 89 , his Te Deum , his Mass in D major, and his Stabat Mater , the longest extant setting of that work. [18] The recording of the Requiem by conductor Karel Ančerl with the Czech Philharmonic Orchestra , the Czech Philharmonic Chorus and soloists (1959) was awarded the prestigious "Grand Prix du disque de L'Académie Charles Cros ". Other choral works include: Amid Nature, The Spectre’s Bride, Hymn of the Czech Peasants, St. Ludmila, The American Flag, Festival Song and many more. Concerti Music critic Harold C. Schonberg expressed common critical opinion when he wrote that Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor". [19] All the concertos are in the classical three-movement form. The Concerto for Piano and Orchestra in G minor, Op.

33 was the first of three concertos that Dvořák composed and orchestrated, and it is perhaps the least known of those three. Dvořák composed his piano concerto from late August through September 14, 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of these made in the piano part. The work was premiered in Prague on March 24, 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech , and the Czech pianist Karel Slavkovský as soloist. As Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." Instead, what Dvořák thought of and created was a concerto with remarkable symphonic values in which the piano plays a leading part in the orchestra rather than opposed to it. The Czech pianist and piano teacher Professor Vilém Kurz subsequently wrote an alternative, somewhat more virtuosic piano part for the concerto, which may, depending on the performer's preference, be played either partially or entirely in lieu of Dvořák's part.

In 1919 concert pianist Ilona Kurzová played the first performance of the Kurz version, conducted by Václav Talich . The Concerto for Violin and Orchestra in A minor, Op. 53 was the second of the three concertos that Dvořák composed and orchestrated. He had met the great violinist Joseph Joachim in 1878 and decided to write a concerto for him. He finished it in 1879, but Joachim was skeptical of the work. He objected to Dvořák's abrupt truncation of the first movement's orchestral tutti , and he also did not approve its truncated recapitulation and its leading directly to the slow movement. He never played the piece. The concerto was premiered in 1883 in Prague by the violinist František Ondříček , who also gave its first performances in Vienna and London. The Concerto for Cello and Orchestra in B minor, Op. 104 was the last composed of Dvořák's concertos. He wrote it in 1894-1895 for his friend the cellist Hanuš Wihan .

Wihan and others had asked for a cello concerto for some time, but Dvořák always refused, stating that the cello was a fine orchestral instrument but completely insufficient for a solo concerto. Dvořák composed the concerto in New York while serving as the Director of the National Conservatory . In 1894 Victor Herbert , who was also teaching at the Conservatory, had written a cello concerto and presented it in a series of concerts. Dvořák attended at least two performances of Victor Herbert's cello concerto and was inspired to fulfill Wihan's request for a cello concerto. Dvořák's concerto received its premiere in London on March 16, 1896, with the English cellist Leo Stern . The work was well received. Brahms said of the work: "Had I known that one could write a cello concerto like this, I would have written one long ago!" Over thirty years earlier in 1865, Dvořák had composed a Cello Concerto in A major , but with accompaniment by piano rather than orchestra.

It is believed Dvořák had intended to orchestrate it, but abandoned it. It was orchestrated by the German composer Günter Raphael between 1925 and 1929, and again by his cataloguer Jarmil Burghauser and was published in this form in 1952 as B.10. Chamber music Over a period of almost 30 years, Dvořák's output of chamber music was prolific and diverse, composing more than 40 works for ensembles with strings. In 1860 just after he finished his education at the Organ school, Dvořák composed his String Quintet No. 1 in A minor , Op. 1. Two more would follow, of which the String Quintet No. 2 in G major , Op. 77 from early 1875, is noteworthy for the use of a double bass. It was written for a chamber music competition sponsored by the Umelecká beseda (Artistic Circle), where it was unanimously awarded the prize of five ducats for the "distinction of theme, the technical skill in polyphonic composition, the mastery of form and the knowledge of the instruments" displayed.

[20] The String Quintet No.3 in E♭major "American" , Op. 97, with a second viola added, was written near the end of his output for chamber ensemble during his American period in 1893, when having a summer holiday spent in Spillville, Iowa. Within a year after completing his first string quintet, Dvořák completed his String Quartet No. 1 in A major , Op. 2, the first of his fourteen string quartets. Though his grasp of compositoral skills is better than the previous quintet shows, another problem presents itself: Dvořák has difficulty restraining himself in his musical output, which results in very long compositions. [21] Many years later Dvořák cut out many of these over abundant measures for a first performance of his first string quartet in 1888. In that same period Dvořák made a list of compositions he had destroyed, which lists two quartets and 2 other quartets. Most probably he did tear up and burn them, but not after the different parts for three string quartets had been copied out.

The number of errors in the parts makes it highly unbelievable that he actually had them played. His String Quartet No. 2 in B♭ major , B.17, bears no name nor annotation, but Dvořák's biographer Burghauser assumes it was the first of these three written, and therefore changed its place in the list of Dvořák's first biographer Otakar Šourek, who had placed it as the fourth. [22] This mix-up seems very academical, but is fed by the annotations of the other two quartets, for Dvořák's String Quartet No. 3 in D major , B.18, bears the name Quartetto II, again no date, and the String Quartet No. 4 in E minor , B.19, was named Quartetto III and finished in December 1870. These three quartets were probably composed between 1868 and 1870 and bear one common factor, which is their strong influence by the music of Richard Wagner .

Although Dvořák threw away these quartets, he saved an Andante religioso from his fourth quartet, to which he gave a new life five years later in his second string quintet , Op. 77, as a second movement named Intermezzo: Nocturne, adding a double bass, making this a five-movement composition. However in 1883 he withdrew it from the quintet, expanded it and had it published in three different versions as Nocturne in B major, Op. 40 for string orchestra, piano 4 hands and violin and piano. In 1873 Dvořák's life turned for the better: he married Anna Čermáková, and he had his first great success with his Cantata Dědicové bilé hory (The Heirs of the White Mountain). The two Quartets he wrote in this year give a feeling of more determined theme writing. [23] The composing of his String Quartet No. 5 in F minor , Op.

9, B.37, happened in this time of mood extremes: The happiness of success with the cantata, the acceptance of his second opera for rehearsal by Smetana and the marriage, but also the setback of the total failure of these opera rehearsals, and the ultimate rejection of the work. [24] Though the influence of Wagner is still prominent, a new style is emerging: A Chopinesque waltz in the Scherzo and an almost Slavonic theme in the finale, which looks forward to the first set of Slavonic dances. [25] Still the work isn't of the standard that Dvořák expected from himself, so he discarded it. But again some parts were too dear to forget about completely, and in 1877 he reworked the Andantino from the second movement into the Romance, Op. 11 for violin and piano, which he even orchestrated. His most popular quartet is his 12th, the American , Op. 96. He also composed two piano quintets, both in A major, of which the 2nd , Op. 81, is better known. He left a terzetto for two violins and viola (Op.

74); two piano quartets, a string sextet; Op. 48; and four piano trios, including the Piano Trio No. 4 (subtitled Dumky ), Op. 90. He also wrote a set of Bagatelles , Op. 47, for the unusual instrumentation of two violins, viola, and harmonium, Romanza for the violin and piano, two waltzes for string quartet, 10 love songs entitled Cypresses and a Gavotte for three violins. Operas Dvořák's critical acclaim as a composer of symphonies and concertos gave him a strong desire to write opera. Of all his operas, only Rusalka , Op. 114, and, to a much lesser extent, The Devil and Kate , Op. 112, are played on contemporary opera stages with any frequency outside the Czech Republic. This is attributable to their uneven invention and libretti, and perhaps also their staging requirements— The Jacobin , Armida, Vanda and Dimitrij need stages large enough to portray invading armies.

One of his more frequently performed arias from Rusalka is "Měsíčku na nebi hlubokém" (or, "Song to the Moon"). There is speculation by Dvořák scholars such as Michael Beckerman that portions of his Symphony No. 9 "From the New World", notably the second movement, were adapted from studies for a never-written opera about Hiawatha . [26] List of operas [27] New Grove Dictionary of Music and Musicians: Dvořák, Antonín Beckerman ed.: Dvořák and his World (Princeton, NJ, 1993) Beckerman, Michael. New worlds of Dvořák : searching in America for the composer's inner life (2003) New York : Norton, c2003.

Beveridge, ed.: Rethinking Dvořák: Views from Five Countries (Oxford, 1996) Burghauser: ‘Concerning one of the Myths about Dvořák: Dvořák and the Apprentice Butcher’, Czech Music, xviii/1 (1993–4), 17–24 Burghauser, Jarmil “Antonín Dvořák” (1976) Praha : Státní Hudební Vydavatelství Černušák, Gracián (ed.); Štědroň, Bohumír; Nováček, Zdenko (ed.) (1963). Československý hudební slovník I. A-L. Prague: Státní hudební vydavatelství. (in Czech) Clapham, John (1966), Dvořák, Musician and Craftsman, London: Faber and Faber Ltd./New York: St.

Martin's Press Clapham, John (1979), Dvořák, WW Norton & Co Inc. New York/London. Dvořák, Otakar. “Antonín Dvořák, My Father” (English Translation) (1993) Honolka, Kurt; Wyburd, Anne (transl.) (2004). Dvořák. London: Haus Publications. ISBN 1904341527 . Hughes, Gervase (1967), Dvořák, His Life & Music, Casell, London Hurwitz, David.

“Dvořák: Romantic Music’s Most Versatile Genius.” (2005) New Jersey, US Loven: Dvořák in Spillville: 100 days, 100 years ago 1893–1993 (Spillville, IA, 1993) Melville-Mason: ‘Sir Thomas Beecham and Antonín Dvořák’, Czech Music, xvii/2 (1991–2), 44–8 Melville-Mason: ‘Dvořák and Elgar’, Czech Music, xvii/1 (1991–2), 30–38 Peress, Maurice. “Dvorák to Duke Ellington: A conductor explores America's music and its African American roots” (2004) New York, United States Pospíšil and M. Ottlová, eds.: Antonín Dvořák 1841–1991 (Prague, 1994) Škvorecký, Josef. Dvořák in love : A Light-Hearted Dream” translated from the Czech by Paul Wilson.

New York : Knopf : Distributed by Random House, 1987, c1986. Smaczny, Jan. Dvořák: Cello Concerto. Cambridge Music Handbooks. Cambridge University Press, Cambridge, 1999. Tibbetts, ed.: Dvořák in America 1892–1895 (Portland, OR, 1993) Vaan Straaten, Jan. Slavonic Rhapsody: The Life of Antonín Dvořák. New York : Allen, Towene & Heath Inc, 1948 Wollenberg: ‘Celebrating Dvořák: Affinities between Schubert and Dvořák’, MT, cxxxii (1991), 434–7 External links Dvorák - Symphony No. 9 In E Minor (From The New World) | Hix Bros Music Top / Accessories / Music-Books-Video / Study Score with CD / Dvorák - Symphony No. 9 In E Minor (From The New World) Dvorák - Symphony No.

9 In E Minor (From The New World) Score & Sound Masterworks are convenient, compact and inexpensive score/CD packs perfect for classical music enthusiasts and students. Follow along with the score as you listen to some of the world's great music. Discover which instruments are playing and Dvorák - Symphony No. 9 In E Minor (From The New World) SKU: 73999918854 Qty : Score & Sound Masterworks are convenient, compact and inexpensive score/CD packs perfect for classical music enthusiasts and students. Follow along with the score as you listen to some of the world's great music. Discover which instruments are playing and in what combination, and admire the orchestration of a master composer. Publications in this series include an interesting article about the composition and history of the featured piece, a helpful reference addressing transposing instruments, and a glossary of musical terms used in the score. Antonín Dvorák's Symphony No. 9 in G Major, Op. 95, subtitled “From the New World,” was the work that spread his name throughout the world. Prior to the piece's 1893 premiere in Carnegie Hall, Dvorák's music was performed in only about ten countries.

But the enormous, nearly instant popularity of this symphony changed that in short order. Written during his stay in the United States, his “New World” symphony has sparked much debate about Americana contained in this music. After the premiere one critic asserted, “He (Dvorák) has compelled recognition ... that there are musical elements in America which lend themselves to beautiful treatment in the higher forms of art.” Today, his ninth symphony remains one of the most often played, well-known, well-loved works of the symphonic literature. Shopping cart You have no items in your shopping cart. Hix Bros Music 1941 West Wilson Street, Batavia, IL 60510 Tel: 630-406-0044 4315 Westbrook Drive Aurora, IL. 60504 Tel: 630-898-8840 Mon-Thu 11 to 8; Fri 12 to 7; Sat 10 to 5; Sun 12 to 5 Mon-Thu 11 to 8; Fri 12 to 7; Sat 9 to 5; Sun 12 to 5

Question: By what name is Antonin Dvoraks ninth symphony known?
Answer: 'FROM THE NEW WORLD'